Course lecture in Polish (possible form of remote teaching)
Didactic discussion - seminar
Individual work and its revision (group and individual)
Discussions and guest lectures - meetings with scientists, curators, curators of the collections, trips to exhibitions, museums

Being enrolled in the first-year
Use of Polish language at a level sufficient for understanding of the content of lectures and tutorials.
In exceptional cases, individual work (but not lecture course) with the student may take place in English or
French

The series of meetings is designed to introduce students to the history, theory, and professional language of the discipline they will practice.

Semester 1 is an introductory semester to the broad issues of the discipline - according to the framework plan:

1. Getting acquainted, discussion of syllabus , introduction. What is fashion - discussion?
2. Fashion what is it - WHAT IS IT AND WHAT IS IT ? Fashion - clothing - definitions.
3. Fashion as art - history of perception and discourse.
4. Fashion from Paris - from the history of French haute couture
5. Fashion from Italy. 20th century Italian fashion market! Dolce vita, vespa, Pucci and Vespucci
6 Fashion in the American way
7. Places of fashion distribution. Fashion and architecture
8 Trends- where fashion came from and comes from
9. Fashion show - history and present day
10. Who is the creator of fashion: a tailor, designer or artist?
11. Fashion and gender. Since when does fashion create a dichotomous division of cultural gender. Men's clothes in women's closet. Women's in men's. Unisex.
12. Places of discourse creation about fashion: museums, schools, institutions - here also bibliography and useful links
13. Photography, drawing and other "tools" for communicating fashion visions.
14. Sustainable fashion - new trend or evolution

During the classes students are introduced to the history and theory of fashion in its broadest sense, the causes and effects of the related phenomena, the contexts in which they function: the history of customs, art, aesthetics, technology, and many other fields they depend on and are connected with. They listen, they discuss, they analyze. They ask unpredictable questions that usually get answers, but they also do research on the topics themselves - individually and collectively. The program is broad in time (from antiquity to the present day) and territory (with emphasis on the history of fashion in Western Europe) - hence threads, the development of which is limited by time, are taken up at the special request of students.
The lectures are enriched with rich visual materials - reproductions of famous works of art: paintings, photographs, fashion items, but also: fragments of films or music videos, archival documents, old magazines, journals and diaries, sometimes preserved clothing. The program is complemented by visits to archives where centuries-old textiles, clothing and accessories are kept (National Museum in Warsaw, Paris Opera, private collections), as well as visits to temporary exhibitions and meetings with specialists, craftsmen and enthusiasts. Every year, special projects are also created in collaboration with other studios of the Fashion Department in order to better combine the knowledge gained there. In case of remote work - this form of making meetings more attractive is limited.

The three-year cycle of classes enables the students to become acquainted with the most important phenomena and facts from the history of fashion, but also to develop individual interest in topics related to the lectures. It allows the students to develop the ability to acquire information on their own and to engage in an eloquent dialogue about fashion and its history.

1. Ocena poziomu merytorycznego wykonania prac domowych indywidualnych i zbiorowych. W pierwszym semestrze przewidziana jest jedna krótka praca pisemna lub/i  krótka prezentacja oraz wspólne dyskusje związane z treścią wykładu. 
2. Ocena stopnia zaangażowania w realizację programu oraz umiejętności efektywnego przełożenia wskazań i wytycznych uzyskanych w toku kształcenia w wyniku dyskusji i dialogu dydaktycznego (relacja mistrz-uczeń).
3. Ocena poziomu wiedzy i logicznego rozumowania dotyczących specjalizacji w kontekście historii i teorii mody

Skala ocen – zgodna z Regulaminem Studiów ASP w Warszawie.

Passing the final year exam (in case of the necessity of working remotely - the form of the exam may be modified) with a score of at least 3-, i.e. 60% mastery of the material.
Passed all individual and group projects on time

Attendance at the level provided for by the Regulations of the Academy of Fine Arts in Warsaw.

Malcolm Barnard, Fashion as communication, Routledge Taylor & Francis Group, London-New York 2002.

Mary Beard, John Henderson, Classical Art: From Greece to Rome, Oxford University Press, 2001.

Christopher Breward, Fashion, Oxford University Press, 2003.

François Boucher, 2000 Years of Fashion history [różne wersje językowe].

Valerie Cumming, Understanding fashion history, Costume & Fashion Press/Quite Specific Media; London – Batsworth 2004.

Encyclopedia of clothing and fashion. Vol. 1-3, red.: Valerie Steele, Charles Scribner’s Sons, Farmington Hills 2005.

Fashion Theory. A Reader, red.: Malcolm Barnard, Routledge, New York 2007.

Didier Grumbach, Histoires de la mode, Editions du Regard, Paris 2008.

Ingrid E. Mida Reading Fashion in Art, Bloomsbury Visual Arts, 2020.

Moda. Historia mody od XVIII wieku do XX wieku, red. A. Fukai, TASCHEN, Köln 2002. (różne wersje językowe)

Valerie Steele, Paris Fashion: A Cultural History, Bloomsbury, 2017.

Lou Taylor, The Study of Dress History, Manchester University Press, Manchester-New York 2002.

Malcolm Barnard, Fashion as communication, wyd. II, Routledge Taylor & Francis Group, London-New York 2002.
Joanna Chruszczyńska, Ewa Orlińska- Mianowska, Tkaniny dekoracyjne, Arkady, Warszawa 2009.
Lou Taylor, The Study of Dress History, Manchester University Press, Manchester-New York 2002.
Dana Thomas, Luksus. Dlaczego stracił blask?, tł. E. McIver, Muza, Warszawa 2010.
Deyan Sudjic, Język rzeczy. Dizajn, moda i sztuka. W jaki sposób przedmioty nas uwodzą? przekł. Adam Puchejda, Wydawnictwo Krakter, Kraków 2013.

Strony www i działalność popularnonaukowa instytucji:

Bath: Museum of Costume http://www.fashionmuseum.co.uk
Londyn: Department of Textiles and Dress w Victoria & Albert Museum (South Kensington Museum) http://www.vam.ac.uk
Londyn: Fashion and Textile Museum http://www.ftmlondon.org
Paryż: Musée de la Mode et du Costume – Palais Gallliera www.palaisgalliera.paris.fr/
Paryż: Musée de la Mode et du Textile Les Arts Decoratifs http://www.lesartsdecoratifs.fr/
Antwerpia: Mode Museum Province of Antwerp – MoMu http://www.momu.be/
Madryt: Museo del Traje, http://museodeltraje.mcu.es
Kioto: Costume Institute http://www.kci.or.jp/
Tokio: Bunka Gauken Costume Museum http://www.bunka.ac.jp/

POLSKA
Łódź: Centralne Muzeum Włókiennictwa www.muzeumwlokiennictwa.pl
Poznań: Muzeum Sztuk Użytkowych www.mnp.art.pl/oddzialy/msu
Warszawa: Muzeum Narodowe w Warszawie, www.mnw.art.pl
Warszawa: Muzeum Pałac w Wilanowie www.wilanow-palac.art.pl
Warszawa: Państwowe Muzeum Etnograficzne www.pme.waw.pl

Nowy York: Costume Institute of Metropolitan Museum of Art http://www.metmuseum.org
Nowy York: The Museum at Fashion Institute of Technology (FIT) http://fitnyc.edu
WŁOCHY
Mediolan: Palazzo Pitti http://www.uffizi.firenze.it/musei/costume

Na każdych zajęciach studenci otrzymują szczegółową bibliografię uzupełniającą do każdego tematu!